Google’s Gemini platform has introduced a new feature called “skills,” designed to streamline task automation by allowing the creation of reusable instructions. This functionality is available across both Gemini Chat and Gemini Spark, offering users a way to automate repetitive tasks with precision and consistency. Skill Leap AI explores how this feature can be applied […]
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Apple’s iOS 27 introduces a host of updates designed to refine the iPhone experience, blending subtle enhancements with impactful changes. While major features often dominate the spotlight, several lesser-known updates deserve attention for their focus on usability, personalization and control. These features aim to make your device more intuitive, adaptable, and efficient. Below is a […]
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An AirTag is 32mm in diameter, and the whole appeal is forgetting you put it there. MR.GADGET apparently thought this was the right template for a lighter. The Pyra measures 36mm (1.42 inches) tall and 15mm (0.59 inches) across, which means it is, quite genuinely, just four millimeters taller than an Apple AirTag. A complete mechanical lighter in a form factor you’d otherwise associate with tracking your lost dog. MR.GADGET is a Boston-based product design studio, and Pyra represents exactly the kind of object they seem to enjoy building: small, precise, and maybe slightly unnecessary in the best possible way.
Behind the compact titanium body is a fully mechanical ignition structure. No electronic ignition. No battery. No charging port. A CNC-machined hammered texture, inspired by meteorite surfaces, gives the titanium body a distinctive tactile character. Four symmetrical grooves provide natural grip, while a contrasting copper/brass ring adds a warm metallic accent. At just 0.63 ounces (17.8 grams), Pyra is small enough to carry almost anywhere without becoming another bulky object in your pocket. That’s lighter than most coins or USB drives rattling at the bottom of your bag.
Designer: MR.GADGET
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The ignition system inside that 36mm shell contains 13 discrete components, each with a specific job. Rotating the upper shell open reveals the mechanism, then you spin the flint wheel, metal meets flint, a spark appears, and the flame follows. Every component is precision CNC machined to work within the compact body, from the internal mechanism to the threaded connection. The precision threads give every rotation a distinct mechanical feel, ending with a precise mechanical lock. The component list reads like a miniaturized Zippo: spring, flint wheel, flint, fuel chamber, and O-ring, all organized so that every millimeter has a job.
Pyra is machined from Grade 5 Titanium, or Ti-6Al-4V if you prefer to sound intimidating at dinner parties, an alloy roughly 2 to 2.5 times stronger than commercially pure titanium and the same material used in aerospace components, carabiners, and precision knife hardware that gets used hard. MR.GADGET chose it for the combination of low weight, high strength, durability, and premium tactile feel. The compact body serves as the structural backbone that keeps the whole object compact, rigid, and carry-ready. That CNC-machined hammered texture does double duty: it gives the titanium visual drama and provides genuine grip. The four symmetrical grooves give your fingers something to find naturally, and the copper/brass accent ring breaks the all-titanium aesthetic with a warm, almost handcrafted quality that photographs beautifully.
Inside Pyra is a dedicated fuel chamber, and when closed, the precision threads and O-ring sealing structure reduce the entry of air, moisture, and dust. That sealing is a meaningful detail: the classic Zippo has no equivalent and is notorious for losing fuel to evaporation in storage. The flame stays lit when the wind picks up and keeps burning through the rain. Pyra has been tested across extreme temperatures from -20°C to 50°C, covering nearly every scenario outside of volcano tourism. The fuel load delivers approximately six minutes of continuous burn time, ample for lighting candles, starting camp stoves, and the occasional dramatic effect.
Pyra carries two different kinds of light: a real flame created mechanically when you need it, and tritium, a self-luminous element integrated into the body to provide a small glow without batteries or charging. Two 1.5 × 6mm tritium slots are built directly into the shell, and this is honestly one of my favorite details on the whole design. In daylight, the vials become part of the design. In darkness, they become a subtle point of light, turning Pyra into something you can locate by feel or by glow at 2am. The vials come in a variety of colors and are available as an add-on, and they genuinely elevate the whole object into small-artifact territory.
Pyra’s compact cylindrical form fits naturally into an EDC setup, riding in your pocket at only 36mm, and the attachment hole gives the option of keyring or lanyard. A necklace chain add-on is also available, turning Pyra into pendant carry if that’s your angle. The flat bottom gives Pyra another small but intentional feature: it stands. That’s one of those quietly considered design decisions that makes an object feel genuinely thought through. The mechanical structure is designed with maintenance in mind, the flint is replaceable, and the whole approach rejects the idea that a lighter should become disposable just because one small component wears out.
Pyra is available at a discounted $45 per unit with free worldwide shipping, and the add-on catalog is surprisingly comprehensive for a lighter. A black anodized finish adds $15, personalized engraving is $12, a titanium quick-release keychain is $15, and a spare flint kit of 30 runs just $5. Tritium vials are $30 for a pair, with glass luminous vials at $6 for those who want the ambient glow without the premium. Multi-unit bundles bring the per-unit cost down considerably, with a two-pack starting at $85 and a four-pack at $159.
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Neurable has been working on non-invasive brain-computer interface (BCI) technology for decades now. They now bring years of R&D in neuroscience to practical consumer electronics for everyday living. Just like we use tracking devices and smartwatches to get insight into vital bodily functions, the company wants to make brain health and cognitive performance commonplace.
A few years ago, they introduced the MW75 Neuro headphones in collaboration with Master & Dynamics, and we were already impressed. Now Neurable has launched a pair of cans that are better and developed a standalone. The basic functionality remains the same, as the headphones track your brain wave activity throughout the day to identify the high-focus times and the ones where you start to fade off.
Designer: Neurable
The latter is an important insight as you’ll be prompted to take a break, or dive deeper into your cognitive performance thanks to the Smart Brain Breaks feature. It’s like keeping a tab of your mental health, just like we do with our physical health using wearable trackers. This new version improves on the one developed in conjunction with M&D, as Neurable headphones now track live and long-term data. This is important, since you’ll now get notifications when your focus tasks, meditation routines, or sleep are not optimal.
According to Ramses Alcaide, CEO of Neurable, “Neurable One is the product we’ve been working toward for more than a decade. It takes everything we’ve learned about bringing brain sensing out of the lab and makes it intuitive and useful in everyday life.” The latest version saves data over longer sessions, even outside the specific focus sessions. As per Ramses, a stable reading can be ensured when data is collected over weeks and months. The Neurable One headphones do exactly that, leading to more reliable analysis.
The headphones do the heavy lifting as they combine audio performance, clean ANC functionality, and EEG tracking in real time. These cans are lighter and more comfortable to wear, compared to the earlier versions. The 12 EEG sensors are integrated into the ear pads for continuous tracking without the user even realizing it. The brainwave data gathered from the tracking is analyzed and presented as meaningful insights via the compatible Android or iOS app.
Of course, at the end of the day, these are a pair of cans that are meant for enjoying your favorite tunes, so they need to sound good. Loaded with 40mm beryllium drivers and six microphones, the headphones promise crisp audio delivery and satisfying ANC and Ambient mode performance. The battery life of 22 hours will get you through music listening marathons, but bear in mind, the number drops to 12 hours when the EEG mode is turned on. That means you’ll get through a day of listening to music and subconscious brain analysis going on in the background for long-term mental health. The headphones are priced at $499, which is a bit steep, but you’ll have to consider the functionality they bring to the table.
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On the sandy shores of Puerto Escondido, a house sits quietly and dares you to want less. It draws its DNA from local monasteries and haciendas — not as pastiche, but as a genuine reckoning with how people have always lived on this stretch of Mexico’s Pacific coast. The result is something that feels simultaneously ancient and completely of its moment: a building that reads as ruin and refuge at the same time.
Exposed concrete forms the structural backbone of the project, but Anonimous never lets it feel cold. Planted courtyards punctuate the plan, pulling light and greenery into the heart of the house, while a green roof softens what would otherwise be a hard, monolithic silhouette. The dialogue between the man-made and the grown is constant — every room feels like it’s negotiating with the landscape rather than ignoring it.
Designer: Anonimous
The showpiece is the palapa: a 20-meter-long, 12-meter-wide thatched roof constructed from parota wood and local palm. It’s the kind of element that could easily tip into theme-park territory, but here it reads as structurally and culturally inevitable — a direct reference to vernacular building traditions that have been managing Pacific coast heat for centuries. Beneath it, the spaces breathe. The heavy concrete base and the light, fibrous canopy above create exactly the kind of contrast Anonimous seems most interested in: openness against closure, mass against weightlessness, stillness against the constant movement of the ocean beyond.
Upstairs, a rooftop plunge pool frames views of the Pacific through concrete beams, turning what could be a gratuitous amenity into something almost architectural — a framed picture of sky and water that changes with every hour of the day. Terraces and balconies extend naturally from the interiors, blurring the line between inside and outside until that distinction stops mattering altogether.
Casa Copycha isn’t trying to impress you with spectacle. It works through atmosphere — through the sound of waves filtered by palm thatch, through the play of dappled Pacific light on raw concrete walls, through the feeling that the building knows exactly where it is and has made peace with that completely. In a moment when coastal architecture often defaults to glass maximalism, that kind of grounded confidence is genuinely rare.
The post This Mexican Beach House Swapped Glass Walls for Concrete and Palm — and Won first appeared on Yanko Design.
It’s 2026, and there’s a fair chance any kid born in the next 10 years will see more server racks than they will actual bears. An incredibly twisted reality, but a reality nonetheless… so much so that Rajeev Basu decided to poke fun at this predicament in a way that only artists with a dark sense of humor know how. Meet Bezzy, a stuffed plushie that’s actually a server rack, not a teddy bear. Squeeze it and it emits an incredibly annoying hum, captured from actual data centers around USA.
Bezzy would be cute if it weren’t so pathetic. The toy’s thinly veiled satire on the fact that our AI CEO oligarchs want us to think of their world-ending water-sucking creations as anthropomorphic harmless beings. Meta unveiled Muse, a seemingly cute avatar that hides the fact that it’s selling your data to governments and marketers. OpenAI unveiled Dots, an adorable set of AI assistants that definitely don’t want you to think about the fact that the company’s AI bots have been routinely hacking into organizations, governments, etc. To that extent, Bezzy might be too effective in making AI seem cute. That’s until you hug the thing.
Take a close look at Bezzy and you start appreciating how much thought went into making him look so deliberately unstudied. The gray sherpa fleece, the floppy limbs, the googly eyes, and that little smile are all pulled straight from the visual grammar of the charity adoption plushie, specifically the kind WWF used to send you after you donated to save a panda. His torso, though, is a different story: a black textured panel with rows of blue LED dots running down it, server-rack iconography dressed up in fur. All 20 were handmade in the US, and the design intentionally avoids looking polished or new, going instead for that lived-in quality of a toy you might find at the bottom of a thrift store bin. The yellow tag dangling from his chest, screaming “HUG ME FOR EAR PIERCING FOREVER HUM,” is doing most of the heavy lifting.
The toy is the physical centerpiece of a bigger satirical project called Adopt A Data Center, which Basura designed to look exactly like a charity adoption portal. Hit “adopt now” and instead of a certificate, you get a page of citations and journalism covering data center noise complaints, water consumption, land use, and the tax incentives that make communities such convenient targets for developers. Stickers in the campaign read “Open your heart. And your power grid.” The tagline for the whole thing is “All they ask for is everything,” which is honestly one of the better lines written about the AI era.
The duo behind the project is a pretty inspired pairing for something this arch. Rajeev Basu runs Basura, a New York studio with a resume that includes stints at Wieden+Kennedy, Spotify, and Maximum Effort, where he wrote for Ryan Reynolds and Rob McElhenney. His previous projects have the same DNA as Bezzy: the Hinge Phonebook was a phone-shaped book filled with ideas for getting off your phone that sold out in 24 hours, and the Yerba Madre Dirt Shoes literally crumbled apart mid-walk to spread wildflower seeds. His collaborator is Alan Wilkis, who makes music as Big Data, a project he started in 2012 explicitly to comment on how the internet was mining and monetizing personal data. Bezzy launches alongside Big Data 4.0, Wilkis’s first album in seven years, and a new single called “Rabbit Hole,” which honestly tracks.
The hum inside Bezzy wasn’t recorded in a studio. It was captured by a woman living next to a data center in Virginia and handed over during Basura’s research process, part of six months of conversations with people across the US who live beside these facilities. Northern Virginia alone hosts over 500 data centers handling as much as 70% of the world’s internet traffic, and residents there have been filing noise and health complaints for years with very little relief. A 2026 UN University report found that data centers could consume 945 terawatt-hours of electricity annually by 2030, while AI-related water use could equal the domestic needs of 1.3 billion people. Bezzy, all 20 of them, at $99 each, won’t fix any of that. But he’s a pretty hard thing to ignore while he’s screaming.
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Cars of the future are usually imagined as sleek metallic pods packed with screens, sensors, and glowing interfaces. Dominic Wilcox went in almost the opposite direction. His vision of autonomous transportation looks more like a miniature cathedral on wheels, made from hundreds of pieces of hand-cut stained glass with little more than a bed inside.
Called the Stained Glass Driverless Sleeper Car, the concept was created for the Dezeen and MINI Frontiers exhibition during the London Design Festival. Wilcox imagines the vehicle existing in 2059, at a point when autonomous driving has become so dependable that the architecture of the car itself can finally change. Instead of designing another futuristic cockpit, he asks a much more entertaining question: if nobody needs to drive anymore, why should a car still be designed around a driver?
Designer: Dominic Wilcox
In Wilcox’s imagined 2059, computer-controlled vehicles have statistically become safer than human-driven cars. He even proposes a fictional future in which the Digital M1 motorway goes through 2058 without a single collision because only autonomous vehicles are allowed on it. Within that scenario, familiar automotive features such as steering wheels, bumpers, and even some forms of conventional safety equipment begin to lose their importance. What remains is essentially a moving room.
That idea becomes the foundation of the entire project. The motor and automated navigation technology would be contained inside a standardized modular chassis, while almost any kind of living space could be constructed above it. Wilcox’s prototype happens to be designed for one sleeping passenger. There is a bed inside; the passenger selects a destination, climbs in, and can quite literally sleep through the commute.
The exterior makes the concept even stranger and more memorable. Instead of carbon fiber or polished aluminum, Wilcox built the shell from stained glass using the copper foil technique. The inspiration came after visiting Durham Cathedral and being struck by its stained glass windows. He wanted to take that visual experience, associated with centuries-old architecture and craftsmanship, and pull it into an entirely different context.
It is a recurring approach in Wilcox’s work. He has previously embedded GPS technology into traditional brogue shoes, pairing something familiar and almost nostalgic with contemporary technology. The sleeper car follows the same logic on a much larger scale. Its shell may look historic, decorative, and fragile, but underneath sits a computer-designed structure representing a highly automated future.
Building it was appropriately hands-on. Middlesex University’s product design department helped develop the chassis base and wooden support frame before Wilcox moved the structure to Lead and Light, a stained glass workshop in Camden, London. Having never worked with glass before, he first completed a five-day workshop with glass artist Lynette Wrigley.
He then spent six weeks cutting individual pieces of glass by hand and soldering them onto the frame, with assistance from recent graduate Massimo Cappella. The finished shell sits over the underlying structure almost like a piece of inhabitable stained glass sculpture. Photographs of the project show the transparent shell opening upward to allow its passenger inside, then glowing when illuminated.
There are small pieces of automotive history hidden within the design as well. Since the exhibition was supported by MINI, Wilcox referenced the original Mini introduced in 1959, exactly one century before his imagined 2059 scenario. Classic Mini tires appear beneath the glass body, while a traditional Mini boot handle has been repurposed as the handle used to lift the hydraulically assisted shell.
The sleeper car is really just one possible outcome of a much bigger transportation idea. Wilcox also developed Taxirobot, a website concept imagining how people might order autonomous vehicles in 2059 instead of owning one permanently. Passengers could choose a vehicle based on the number of people traveling, then select an interior such as a restaurant, office, jacuzzi, or bed. Even the exterior could be selected, with possibilities ranging from a wooden cabin to a retro 2015 car or Wilcox’s stained glass mini cathedral.
It turns the car from a product into a temporary piece of architecture. Your morning commute could happen inside an office. A longer journey could become dinner. A late-night ride home could simply become sleep. And that may be the most interesting part of Wilcox’s concept. Autonomous driving is usually treated as a technological problem centered around making the existing car smarter.
The Stained Glass Driverless Sleeper Car imagines what happens after that problem has already been solved. Once nobody has to drive, perhaps the most exciting question is no longer what the car can do, but what the space inside it can become.
The post This Stained Glass Car Imagines a Future Where You Sleep Through Your Commute first appeared on Yanko Design.
I’ll give Apple its props by saying that it’s genuinely remarkable they built Apple Pencil compatibility into the iPhone Duo. Yes, it’s a welcome move because it’s a step above what Samsung did by nuking S-Pen support for their Galaxy Z Fold8 series, but it’s also sort of stupid that they didn’t build the compatibility in right away. The iPhone Duo is announced to be compatible with the Pencil on a future date. It’s something Apple announced you’ll get, but in the words of MKBHD, don’t ever buy a product on a promise of future upgrades.
I appreciate Apple trying though, but there’s one problem Apple never accounted for – the Apple Pencil is longer than the iPhone Duo. Unlike the S-Pen, which is mobile-sized, the Apple Pencil measures 6.43″ long. That’s almost 2 inches taller than the iPhone Duo which sits at 4.64″ in height. There’s no realistic universe in which anybody is carrying an Apple Pencil along with the iPhone Duo – they might be compatible but they’re not built to be a cohesive design solution… so Eslam Mohammed invented one. Meet the Pencil Duo – a stylus specially designed to be the iPhone Duo’s loyal sidekick.
Designer: Eslam Mohammed
The regular Apple Pencil’s design was informed by the device it was supposed to pair with. A simple all-white design, a circular grip, and one single chamfered edge to let the Pencil snap to the edge of the iPad to charge. The Pencil was also sized to just about fit the iPad mini, showing how much Apple had thought about the integration between the two products. So when Mohammed built the Duo, he basically approached it from the ground-up. No chamfer, no awkwardly long stylus.
The Pencil Duo is a perfectly cylindrical stylus, albeit with a silver detail running along its edge. Inspired by the iPhone Duo’s silver hinge which punctuates its design, the Pencil Duo sports that running metallic detail too, paired with a button that works just the way the button on the S-Pen does with Samsung’s phones. Mohammed doesn’t explicitly detail what the button does, but one can assume it helps with highlighting text, opening shortcuts, working as a shutter button, etc.
No snapping to the iPhone’s edge means there’s no chamfer. This gives the Pencil Duo a design that feels a lot cleaner in my opinion. The reason why snapping wouldn’t work is because it would prevent you from being able to open your phone. Instead, the Pencil Duo sits at the back of the phone, thanks to a special case that lets you dock the pencil.
The pencil neatly tucks into the back, occupying the empty space left behind by the camera bump, which doesn’t extend all the way to the end (the way the Pixel Fold did in the past). It’s a neat arrangement, and I’m sure Molly Anderson would approve. Who’s Molly Anderson, you ask? Well just the VP of Industrial Design, but Apple’s never really had a design lead in the limelight after Jony I’ve left.
The Pencil Duo measures roughly 4.3 inches in length, and a tad bit narrower than its predecessor. Sort of just like how the iPhone Duo is so much slimmer than its other counterparts. There’s no mention of how this pencil would charge, although I’m sure wireless charging is on the table. You’d probably need a special cradle to charge the device, but I wouldn’t put it past Apple to invent one.
Mohammed has, however, detailed a few other things, like the Pencil Duo having haptic feedback, the Hover Preview feature, and obviously angle and pressure sensitivity. The only real problem here is that this entire stylus is conceptual… but I wouldn’t put it past third party designers from making iPhone Duo styluses that work using capacitive touch and have Bluetooth pairing so that the button on the stylus actually packs a few features. Maybe long-press for Apple Intelligence too!
The post An S-Pen for the iPhone Duo? Yes please! first appeared on Yanko Design.